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I was lucky enough to go to an exhibition of her paintings at the National Gallery in London a few years ago. The thing about her women is they are capable. No fawning, fainting maidens; women with strong forearms and dirty fingernails. (And her early Susannah is just so annoyed at those pervy elders. You can just hear her saying “fuck off, creeps!”)

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I loved that show at the National Gallery. It was preceded by one where her work appeared with her father's beneath Caravaggio's, which was also great.

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I love her choice to paint his head with greyed skin, relegated to the shadows and bottom of the painting, contrasting with the lush textures and deep hues of the women and furnishings. Not only has she given the women agency, she’s taken away from him everything that made him human. He’s nothing. I also enjoy seeing her Judith as a mature woman. Who’s in front of the easel makes a difference. Wonderful post; thanks.

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Who's in front of the easel certainly does make a difference. Thanks for reading.

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How to deal with the male gaze permanently.

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Heh.

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Thank you!! And for the chuckle (eew yuck!). Have you seen the fringe show "It's True, It's True, It's True?" Brilliant. Using vivant tableau from her paintings.

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